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Posts Tagged ‘opera’

The Landmark’s Greatest Performance

Friday, November 18th, 2011

A lot of you will understand what I mean when I say that there’s a rather large vacuum in my Sunday nights. With Downton Abbey off our screens until Christmas, I have been left craving that old-world glamour and faded grandeur to which I had become accustomed. So, with no other suitable period dramas on the horizon, you will understand my delight when I received an invite to a Night at the Opera Gala Dinner at The Landmark.

Evoking the bygone era for which I’ve been pining, the outside of this stunning 19th century redbrick hotel is both impressive and imposing. Picture the scene, champagne flows at a reception in the Winter Garden, the venue for the evening. Surrounded by lush palm trees, people laugh and mingle against the background tinkling of the piano. Suddenly a hush falls across the scene. Dinner is served.

And what a sumptuous affair it is! 6 courses of exquisite food with matching wines to complement each dish. As I look around, I feel more and more like Lady Mary sitting in her dining room enjoying her usual elegant culinary fare. I decide that the cantankerous looking old lady on the table to our right can play the Dowager Duchess. The chap in the corner table even looks slightly like Matthew if you squint – perhaps not.

Dinner starts with a tastily spiced Jerusalem artichoke foam, pickled pear and coriander cresso, followed by a delicious salad of beetroot, whipped goats cheese, honeycomb & walnuts. I didn’t think I even liked beetroot. And then, whilst I was pondering my fickle taste buds, it began. A female voice soaring above the piano’s accompaniment, reducing its audience to silence. I must confess that I’m something of an opera lover. Puccini to be precise, regardless of what that may say about my tastes. You say a lack of gravitas, I say accessible to all. But that’s by the by and not wholly relevant.

A 20 minute interlude of Baroque opera performed by the talented artists of Opera Bespoke ensued, mesmerising the diners as they listened to popular arias by Handel and Mozart. Drawing to a close, we were left slightly dazed, struggling to adjust back to the realities of dinner. But once the food arrived, our attention soon snapped back to the mouth-watering sight before us. Hand dived scallops, crisp pork belly, pineapple & ginger, followed by aged fillet of beef, almond croquettes, broccoli & baby onions. The food was lip-smackingly good, and as we savoured the taste of these gastronomic delights, the music began once again.

French opera was the theme for this interlude, including classics such as “Flower Duet” by Delibes, (think British Airways) and “L’amour est un Oiseau Rebelle” from Bizet’s Carmen. As the diva strutted around the room, gracing chosen gentlemen with the gift of a red carnation, (including my smug boyfriend I hasten to add), I was left in two minds, desperate for the performance not to end, yet eagerly anticipating the delights of dessert.

A chocolate and blood orange mousse later and I’d forgotten all about Carmen. In fact, my ambitions at Lady Mary-esque deportment went straight out the window as I gobbled down the pistachio Bakewell, calvados cream and Granny Smith apple sorbet. Needless to say, the Dowager next to us still managed to maintain her crotchety demeanour, possibly aided by my relinquishing any futile attempts at well-bred elegance. No matter. The grand finale soon seized upon its captivated audience, with the esteemed performers belting out several of my much-loved Puccini numbers to bring a glorious end to the evening.

The Landmark’s Night at the Opera Gala Dinner is a night that will transport you to the delights of by-gone days. It may not be Downton, but its refined elegance captures the period completely. And you don’t even need any aristocratic credentials to enjoy it! Just don’t tell Carson that…

The Landmark, 222 Marylebone Road, London, NW1 6JQ

Il Trittico

Tuesday, September 27th, 2011

The beginning of the Royal Opera’s new season has been pencilled into aficionado’s diaries for months, with one certainty: Puccini’s Il Trittico – a series of three one-act operas – will send them home happy, kicking off the season in excellent fashion.

The traditional view is that the masterpiece of the work lies in its final part. The comedic Gianni Schicchi, with the aria ‘O mio babbino caro’ is by far the best known of Il Trittico. Il Tabarro makes a slightly shaky part one, while Suor Angelica is a second part with an acquired taste. However, with new staging from Richard Jones and the mastermind of conductor Antonio Pappano, these conventional notions must surely be thrown out of the window.

This is the first Royal Opera performance of the complete trio since 1965, testament to the recently prevalent view that the work deserves to be rethought in a new production. In this case, though, the trio is added to the already popular production of Gianni Schicci, which tells a manic story of deception. The eponymous Schicci – played here by Lucio Gallo -swindles a greedy family out of their inheritance to further the cause of true love.

Here moved from Puccini’s original thirteenth century setting to the 1960s, the performance perfectly captures the joy and comedy of the opera. The cast throw themselves gleefully into the farcical scheming, and their enjoyment is infectious. Never has deception been so much fun.

For the production’s biggest surprise however, we must look towards the middle panel of Puccini’s triptych: the much-maligned Suor Angelica. It is here transformed by innovative production and a fantastic, heart-wrenching performance from Ermonela Jaho as Angelica, the young woman forced into a convent due to the perceived shame her pregnancy brought upon her noble family.

The opera’s traditional finale, a vision of the Virgin Mary and Angelica’s lost son, is usually perceived as the weakness of this piece. Here, however, a subtle shifting of the work is revelatory, bringing a believable tragedy to the story’s end.

As the first part of the evening, Il Tabarro – a story of a tragic love triangle, dark in both setting and theme – is the weakest of the set.

Despite the excellent performances of lovers Giorgetta (Anne-Maria Westbroek) and Luigi (Aleksandrs Antonenko), and Lucio Gallo as the cuckolded husband, it is overshadowed by what follows, not because of its own shortcomings but purely because of the excellence of parts two and three.

This is a fantastic set of performances offering a spectacular evening of opera: humour, murder, deception and suicide combine for an unforgettable experience.

www.roh.org.uk

The Barber of Covent Garden

Friday, January 21st, 2011

Tuesday evening at the Royal Opera House and there wasn’t a seat left in the house for the opening night of the revival of Rossini’s buffa opera Il Barbiere di Siviglia. From the moment the orchestra, led by the Scottish conductor Rory Macdonald, began their overture and built the atmosphere the audience was transfixed – a marked difference from the opera’s premiere in 1816 when the audience are reported to have jeered and hissed throughout. Still, despite this the opera has flourished to become a staple part of the comic opera repertoire.

On what was my first trip to the Royal Opera House I was enraptured by the beauty and design. The circular main hall rising upwards in a lavish display of design gives it the feeling of a temple to the arts. By the time my eye reached the ornate ceiling I had vowed to myself this would not be my last trip. If there is a more beautiful place to watch opera in the UK then I am yet to see it.

It is the atmosphere, the knowledge that each night will be slightly different and the interaction between crowd and performers which sets a live performance ahead of any recording. All these were present to such an extent that at the first note of Count Almaviva’s serenade such was the electricity present in the room that the hairs on the back of my neck stood straight up.

The story – a blissfully farcical tale of disguises, plots and counter-plots as Count Almaviva, with the help of the eponymous barber, Figaro, attempts to save his love Rosina from the grasp of her lecherous guardian, Dr Don Bartolo, and the superbly Machiavellian music teacher, Don Basilio – pops and fizzes as the performers are encouraged to flex their acting muscles as well as their vocals to inject real humour into the opera through impeccable comic timing and authentic physical comedy.

In a performance low on star names the execution is undiminished, in addition to the extraordinary performance by Ildar Abdrazakov as Don Basilio – all malevolence, hunch and duplicity. As he navigates his way through the role with great humour, Levente Molnár, a young Hungarian baritone, delivers a commanding performance full of fire and vigour as Figaro, the eponymous barber.

All were, however, overshadowed by the rising star Aleksandra Kurzak as Rosina. Her perfect portrayal captured the duality of the character’s fiery determination and her vulnerability through sublime vocal skills and coquettish foot-stamping anger. Indeed, so convincing is this anger that when, after throwing darts into the set, she turns to the audience and feints throwing one into the audience, the first four rows all instinctively ducked out of the way. The audience hung on her every note and her every action it is a remarkable performance.

Overall I took many things from this performance – a newfound love of the venue, the excitement of seeing talented young performers at the beginning of their careers, and lastly and most importantly, a profound sense of pleasure, and that, after all, is what art of all kinds should deliver.

http://www.roh.org.uk/whatson/production.aspx?pid=13799

A Devilishly Entertaining Evening

Thursday, September 23rd, 2010

The ENO’s 2010/11 season exploded into life as their revival of Gounod’s opera Faust took to the Colisseum stage. Faust is one of the most enduring stories in popular mythology, and Goethe’s theatrical masterpiece, the dark fable of one mans wager with the devil. It has seen several operatic productions, including one that the ENO will stage next year – Berlioz’s The Damnation Of Faust. Gounod’s is one of the best known and most respected, with some of the most famous arias including The Soldier’s Chorus and the final three-part harmony between Faust, the devilish tempter Mephistopheles and Faust’s would-be beloved Marguerite.

This new production features high-class production values from the off. Set in the 1950s, it powerfully evokes an atmosphere of a world bordering on apocalyptic suicide, both complicit in and reflective of Faust’s dark musings, in thrall as he is to his own doom. The implication, in Broadway director Des McAnuff’s well judged conception of the opera, is that one man’s end seems almost ephemeral by comparison. But then this is a staging that offers near-constant innovation, occasionally verging on the flashy (Iain Paterson’s excellent Mephistopheles produces as many conjuring tricks from his immaculate cream suits as any cheap magician) but with some soaring visual and musical tapestry.

As Faust, Toby Spence – reputable for striking appearances in Candide and the The Rake’s Progress - copes with the often demanding central role, and is ably supported by Paterson and the aptly named Melody Moore as Faust’s romantic foil. The orchestra is conducted by the ever-excellent ENO music director Edward Gardiner, bringing depth and texture to Gounod’s score, and McAnuff’s visual coups de theatre (coups d’opera surely?) are never anything other than thrilling. If the rest of the ENO’s season maintains this level of quality, then opera patrons are in for a treat.

Until 16 October. www.eno.org

Hitting The Heights

Thursday, June 17th, 2010

Carmen_main

It might sound as if we’re damning an entire genre with faint praise, not to mention a production, but Carmen is the perfect opera for people who believe (however misguidedly) that they don’t like opera. Not only does it have a gripping and exciting storyline that encompasses romance, betrayal and grand spectacle – but Bizet’s music also boasts some of the most famous highlights of 19th century opera. The overall effect, especially in a staging as visceral and exciting as the Royal Opera House’s latest revival, is not unlike being at a very accomplished and dramatic gig, especially if you happened to be attending the outside broadcast that took place all over the UK, where the most famous arias produced mass singalongs.

The story is simplicity itself, as Don Jose (Bryan Hymel), a naive young soldier, falls madly in love with the fierily passionate gypsy Carmen (Christine Rice), a girl who professes that she will only fall in love with a man who doesn’t love her in return. As Don Jose’s self-destructive passion grows, Carmen’s indifference to him and affection for the toreador Escamillo (Aris Argiris) only grows, leading to a cathartically tragic ending.

The musical highlights, powerfully sung by Rice, Hymel and Argiris, amongst the rest of the outstanding cast, include the famous ‘Habanera’ and ‘Toreador Song’, which you’re likely to know even if you’ve never seen the inside of an opera house. But the entirety of the glorious, opulent and Romantic score, powerfully conducted by Constantinos Carydis, is a delight to listen to, and to savour. This is unashamedly visceral, thrilling and arms-in-the-air uplifting stuff. If you get a chance, don’t miss it.

Until 26th June, 2010.

Royal Opera House, Bow Street, London WC2.

A Very Happy Marriage

Tuesday, June 8th, 2010

marriage_of_figaro_main

Apparently the Deputy Prime Minister, Nick Clegg, was sighted at the first night of the Royal Opera House’s revival of Mozart’s The Marriage Of Figaro. Whether this was a reflection on the opera’s themes of betrayal, the difficulty of knowing entirely who you can trust and marital infidelity, or simply a man of excellent taste enjoying an evening out, is for those more concerned with realpolitik than us. Regardless of the blessing of Mr Clegg, this is a high-class production of one of the great operas, helped immeasurably by the conducting of Sir Colin Davis, making a rare but welcome comeback to the Opera House.

Mozart’s The Marriage Of Figaro is one of the standards of any opera house’s repertoire, with one of the most famous overtures in history (a mainstay for countless films and TV series). The plot is loosely based on Beaumarchais’ 18th century farce, as Figaro (sung here by Erwin Schrott) wishes to marry his betrothed Susanna (Eri Nakamura), but is frustrated by the machinations of the Count (Mariusz Kwiecien), who wishes to revive the old tradition of jus prima nocte, or first night rights to his wife. And then there’s the frustrated Bartolo (Robert Lloyd), who seeks revenge on Figaro for wrongs real or imagined…

David McVicar’s lively staging (first produced at Covent Garden in 2006) is clear and fluent throughout, uniting the opera’s shifts between (literal) bedroom farce and more heartfelt moments, especially in the performance of Annette Dasch as the wronged Countess. The singing is of the highest quality throughout, and Davis’ conducting is passionate and beautifully attuned to the comedy and passion. This is worth making every reasonable effort to see in its short run.

Until 3 July. Royal Opera House, Floral St, WC2. www.roh.org.uk

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